AcidTRIPP is a feedback reverb built to create expansive, psychedelic space that moves and breathes rather than sitting still behind the dry signal. Most reverbs add depth without personality.
AcidTRIPP uses a modulated feedback network to generate space that shifts and shimmers, where the tail isn't a static decay but something that evolves on its own. Clean guitar through it stays clean — the size and movement come from the effect itself rather than from added harmonic distortion.
The threshold controls how aggressively the feedback loop engages, moving from wide open shimmer to dense, cavernous buildup. Chaos drives internal modulation within the loop, taking the effect from gently animated to unpredictable and lysergic. Feedback depth controls how long and how far the space extends before it collapses back.
A spectral display shows the frequency content of the effect in real time, giving visual feedback on what the loop is doing as it moves. It works on clean guitar, synth pads, electric piano, and any source where standard reverb feels too static or too polite.
AcidTRIPP is a psychedelic reverb/space effect built around a Feedback Delay Network (FDN) — the same core architecture used in high-end studio reverbs like Lexicon and Eventide units. Unlike a simple echo or chorus, an FDN uses multiple delay lines that feed back into each other through a mixing matrix, creating an exponentially dense wash of sound that blooms and evolves over time.
On top of the reverb core is a pitch-shifting shimmer layer — a continuously ascending ghost of the reverb tail, one semitone above the input. This is the signature shimmer sound popularized by Brian Eno, The Edge (U2), and countless ambient and post-rock artists.
The result sits somewhere between a lush reverb, a space echo, and a psychedelic pitch shifter — subtle at low settings, completely dissolving at high settings.
THRESHOLD — Feedback Amount
Controls how long the reverb tail lasts and how intense it becomes.
At low settings the effect decays quickly and cleanly.
As you turn it up, the tail gets longer and denser.
Near maximum it approaches self-oscillation — the reverb sustains almost indefinitely, turning any input into a swelling wall of sound.
This is your “how deep does the rabbit hole go” knob.
FEEDBACK — Swirl Rate
Controls the speed of the LFO modulation sweeping the delay lines.
Low settings create a slow, breathing movement.
Higher settings introduce noticeable shimmer and swirl.
At maximum it becomes a lush, chorus-like motion inside the reverb tail.
Works best in combination with CHAOS.
CHAOS — Modulation Depth
Controls how far the LFO sweeps the delay lines — essentially how much pitch variation exists in the swirl.
Low settings keep the reverb stable and natural.
Higher settings introduce instability and psychedelic motion.
Combined with high THRESHOLD, this is where things become unhinged.
OUTPUT — Wet/Dry Mix + Output Level
Controls both the wet/dry blend and overall output gain.
Lower settings keep more dry signal present.
Higher settings allow the reverb to dominate.
This is your main “how wrecked do you want to sound” control.
FOCUS (switch) — Shimmer Mode
OFF (dark) — Standard reverb mode. Each reflection rolls off high frequencies, creating a warmer, murkier decay. Great for thick, dubby space.
ON (bright) — Activates the shimmer layer. Each feedback pass adds a one-semitone-up pitch shift, creating a crystalline ascending wash. Best on sustained notes and pads.
BYPASS (switch)
True bypass. Your dry signal passes through completely unaffected.
Subtle space
Threshold 0.4 — Feedback 0.2 — Chaos 0.2 — Output 0.4 — Focus OFF
Classic shimmer
Threshold 0.75 — Feedback 0.3 — Chaos 0.3 — Output 0.6 — Focus ON
Edge of chaos
Threshold 0.88 — Feedback 0.5 — Chaos 0.6 — Output 0.7 — Focus ON
Full meltdown
Threshold 0.91 — Feedback 0.7 — Chaos 0.8 — Output 0.8 — Focus ON
Play a single note, hold it, then stop playing and listen to the feedback evolve.
